ESCOM 20097th Triennial Conference of European Society for the Cognitive Sciences of Musichttps://jyx.jyu.fi/dspace/handle/123456789/201382017-09-26T21:45:36ZCoping styles of music teachersStaniçi, JelenaStankovi, IvanaBogunovi, Blankahttps://jyx.jyu.fi/dspace/handle/123456789/218892015-09-02T09:39:03Z2009-10-20T11:01:14Z2009
Coping styles of music teachers
Staniçi, Jelena; Stankovi, Ivana; Bogunovi, Blanka
The previous findings have shown that musicians as well as music
teachers differ in personality characteristics from the general population. There are strong indications that musicians are exposed to numerous stressful situations during their education and professional life. We aimed to: identify preferred coping styles of music teachers and their possible difference in comparison to non-music teachers* coping styles, as well as to depict their relationship taking into consideration certain socio-demographic variables. The sample consists of music teachers (N=67) who teach instruments and music theory and teachers who teach general subjects (N=72). All the teachers filled in the Plutchik*s Coping Styles Questionnaire. We included gender, educational level, working experience and urban/non-urban environment as socio-demographical variables. Findings show that music teachers have preferred coping styles such as: minimizing the problem, avoiding the problem, asking others for help, doing unrelated pleasurable activities, but also improving shortcomings. On the other hand, no differences were found regarding the coping styles profile between music and non-music teachers. There are indications that female teachers are more prone to use avoiding, help seeking and substitution behavioral strategies, but they are also prone to use improving personal limitations or limitations imposed by the situation. Results show that there are differences, to a certain extent, between: older and younger music teachers and music teachers from urban and non-urban environments. We may conclude that mainly passive and avoiding styles and dysfunctional strategies in tension reduction are used by both groups of teachers.
Do Physiological Responses and Personality Traits Relate to Auditory Perceptual Learning in Musicians and Non-Musicians?Seppänen, MiiaHenttonen, PenttiTervaniemi, Marihttps://jyx.jyu.fi/dspace/handle/123456789/217962015-09-02T09:39:24Z2009-09-25T06:33:29Z2009
Do Physiological Responses and Personality Traits Relate to Auditory Perceptual Learning in Musicians and Non-Musicians?
Seppänen, Miia; Henttonen, Pentti; Tervaniemi, Mari
Peripheral nervous system can influence learning and memory functions by increasing the activity level (‘arousal’) of the system with increasing task difficulty. Several studies show that musicians discriminate auditory stimuli more effectively both neurally and behaviourally. Yet, the effects of individual peripheral nervous responses or personality during auditory learning have not been studied in musicians. In this paper, we show preliminary evidence on physiological differences between musicians and non-musicians during auditory perceptual learning. Results suggest that musicians have higher change in skin temperature and heart rate between resting state and active auditory discrimination than non-musicians. Musicians had also higher levels of approach (vs. withdrawal) related personality trait that correlated with their skin conductance level changes. Approach tendency correlated with respiration in non-musicians. Only musicians showed significant relationship between physiological responses and learning scores in active auditory discrimination task. Taken together, the present results indicate that there are differences in basic physiological processes as well as in personality profiles between musicians and non-musicians.
Tune recognition from melody, rhythm and harmonyKuusi, Tuirehttps://jyx.jyu.fi/dspace/handle/123456789/214392015-09-02T09:39:03Z2009-08-20T06:17:27Z2009
Tune recognition from melody, rhythm and harmony
Kuusi, Tuire
Earlier studies have shown that listeners recognise familiar tunes. With tunes that are manipulated in some way, melody has been shown to be more important for recognition than rhythm. The present study examined the importance of melody, rhythm and harmony for tune recognition by listeners with varying musical expertise. Forty-six participants, divided into three groups according to their musical expertise, heard the first two phrases of familiar tunes in four different versions: melody, rhythm, melody with harmony and rhythm with harmony. The participants were asked to identify the tunes. A two-factor ANOVA was conducted with the four versions of presentation and the three groups of participants as experimental variables. The study showed that both the versions of the tunes and the expertise of the participants were statistically significant factors for tune recognition; the professionals being best in tune recognition, and the amateur musicians being better than non-musicians. The rhythmic versions especially were recognised by the professionals, and, regardless of expertise, the melodic versions were easier to recognise than the rhythmic ones. Generally, harmony was not found to help tune recognition. As a whole, the inexperienced listeners seemed to encode isolated details but were unable to process them, while the professionals were able to process information in a structural context. The differences in recognition of the rhythmic versions seemed to reflect the ability of professionals to extract temporal patterns and store temporal information.
The keyboard as a part of visual, auditory and kinesthetic processing in sight-reading at the pianoRonkainen, SannaKuusi, Tuirehttps://jyx.jyu.fi/dspace/handle/123456789/209492015-09-02T09:39:24Z2009-08-03T06:45:59Z2009
The keyboard as a part of visual, auditory and kinesthetic processing in sight-reading at the piano
Ronkainen, Sanna; Kuusi, Tuire
Sight-reading at the piano requires coordination of multiple modalities—visual, auditory, and kinesthetic. Visual feedback (obtained by looking at the keyboard and the fingers) is usually regarded as one means by which pianists guide musical performance, but few researchers have focused on the organisational aspects implicit in the information provided by the keyboard. This study investigated the role of the keyboard with respect to the visual, auditory, and kinesthetic modalities involved in sight-reading. Five pianists sight-read two compositions, each in a different musical style. They were then interviewed in a semi-structured interview format. A qualitative content analysis was made from the data. The keyboard proved to play a significant role in sight-reading at the piano: the results indicated that the keyboard was involved in generating visual, auditory, and kinesthetic imageries, as well as motor actions. The pianists also relied on visual feedback in order to execute discrete movements on the keyboard. Visual, auditory, and kinesthetic processing were all dependent on contextual factors identified in the score as well as on whether the composition was tonal or non-tonal. The utilisation of the keyboard, brought on by effective visual input, involved two kinds of sensory dimensions: visual-kinesthetic imagery and (visual-) auditory-kinesthetic imagery. The former led to partly pre-defined motor responses and the latter, to flexible finger movements. On the other hand, visual feedback seemed to be utilised when the pianists were unable to conceptualise the information available in the score.
Embodied Experience and Communicative Intentions of the Singing PerformerMauléon, Claudiahttps://jyx.jyu.fi/dspace/handle/123456789/209482015-09-02T09:39:24Z2009-08-03T06:45:54Z2009
Embodied Experience and Communicative Intentions of the Singing Performer
Mauléon, Claudia
Theories of Embodied Cognition assert that simulation mechanisms underlie inter-subjective communication. On this basis we posit that by solely assessing only visual component of a performance, a naïve audience could make similar judgments to those ones elicited by audiovisual or aural perception. Five vocal performances by performers of different levels of expertise were assessed using various of perception (audiovisual, visual and aural perception) by 90 musically uneducated subjects randomly assigned to a specific modality. Subject’s task consisted of pronounce an aesthetical judgment of the performances using an 11-point scale. Results assessed by ANOVA test of repeated measures showed significant differences between the factors SINGERS (F 16,296 p< 0,000) and CONDITION (F 8,622 p< 0,001) meaning that singers were judged differently among them and that, judgments were quantitatively different through each perceptual modality. Instead, factors’ interaction (SINGERS x CONDITION) was non significant (F 1,090 p<0,372) indicating that each singer was similarly evaluated via the three perceptual modalities. Consequently, results support the idea of a cross-modal correspondence in the reception of vocal performance. Besides, the lack of knowledge of the lyrics and the style of the musical piece on the part of the audience, allows us to suppose that judgments were based on sensory-motor simulations.
Pitch salience in chords of harmonic complex tonesReichweger, GottfriedParncutt, Richardhttps://jyx.jyu.fi/dspace/handle/123456789/209472015-09-02T09:39:24Z2009-08-03T06:45:44Z2009
Pitch salience in chords of harmonic complex tones
Reichweger, Gottfried; Parncutt, Richard
Parncutt (1993) estimated the salience of the 12 chroma in chords of octave-complex tones (OCTs, Shepard tones). In each trial, listeners rated how well an OCT went with a preceding chord. The conventional root tended to go better than other chord tones. Non-chord pitches tended to go better if they corresponded to steps of associated scales; tones following the major triad went well if they belonged to the major scale (perfect fourth, major sixth, major seventh), following the minor if in (a) minor scale (major second, perfect fourth, minor sixth, minor seventh). The non-chord tones that went well tended to be missing fundamentals of incomplete harmonic series whose salience can be predicted by spectral or temporal models of pitch perception. Thus, it is unclear whether the data were determined by pitch perception, musical familiarity or both. We repeated the experiment using chords of harmonic complex tones - closer to real music. 20 Western musicians (students at the University of Graz) participated (the task was too difficult for non-musicians). 5 triads (major, minor, diminished, major third plus tritone, suspended fourth) were each presented in root position and two inversions. Each chord was followed by 12 probe tones. 180 trials were presented in a random order that differed for each listener. Chords were built from piano tones. Probe tones were OCTs and were slightly quieter than the chords. Each trial was randomly transposed. Listeners rated how well the tone went with the preceding chord on a 7-point scale. When averaged over inversions, results are similar to those of Parncutt (1993) for chords of OCTs. They are consistent with, but often do not confirm, the following assumptions: roots are more salient than other chord tones, non-chord pitches corresponding to missing fundamentals of incomplete harmonic series are more salient than other non-chord tones, and outer voices are more salient (as predicted by models of masking). The nature-nurture question remains unresolved. A possible interpretation is that pitches at missing fundamentals influenced the historical development of tonal-harmonic syntax, which in turn influenced preferences for specific chord progressions and, via frequent exposure, the perception of relationships between individual triads and preceding and following passages.
Postural entrainment by vocal effort in singing and speechVatikiotis-Bateson, EricOberg, MartinBarbosa, Adriano VilelaMcAllister, KathrynHermiston, NancyKurth, Richardhttps://jyx.jyu.fi/dspace/handle/123456789/209462015-09-02T09:39:24Z2009-08-03T06:45:38Z2009
Postural entrainment by vocal effort in singing and speech
Vatikiotis-Bateson, Eric; Oberg, Martin; Barbosa, Adriano Vilela; McAllister, Kathryn; Hermiston, Nancy; Kurth, Richard
This study assesses the interaction of the postural control system and the production of expressive vocal behavior during speech and singing. In particular, we focus on the head, whose motions have been implicated for both postural control and spoken language production. How does head motion behavior simultaneously serve posture control and linguistic communication during vocalization? This study examines the interaction of these two subsystems by measuring the effects of different levels of vocal effort (loudness) on speech and singing. We show that as vocalizations becomes louder the correspondence between measures of head motion and speech acoustics become less complex and better coordinated spatiotemporally. In order to show that the head-voice coordination indeed concerns posture control, the same coordination effects are demonstrated for time-varying measures of body posture, measured with force plates under each of the performer's feet.
Psychological and physiological influences in chord progression including the prohibitionsUemura, ToruNishimura, RyojiNakashima, Hirotakehttps://jyx.jyu.fi/dspace/handle/123456789/209452015-09-02T09:39:24Z2009-08-03T06:45:33Z2009
Psychological and physiological influences in chord progression including the prohibitions
Uemura, Toru; Nishimura, Ryoji; Nakashima, Hirotake
Harmony is one of three major elements in the music. Harmonics are the basic theory of composition. There are several kinds of prohibitions in relation to the chord progression in the rules of Harmonics. When composers compose music pieces, they pay attention not to contain these prohibitions. The prohibitions are empirically- defined with giving the musical expressions to melody processes by try and error. Even so, there are few studies that are quantitatively examined the perceptual effect of the prohibitions. Therefore, the authors have investigated the perceptual effects of the prohibition quantitatively. The present study deals with the psychological tests and the physiological measurements using electro-encephalograph (EEG) in listening of the chord progressions. When subjects listened to the chord progression including the consecutive chord with one of the prohibitions, how subjects perceive to the consecutive chord by the method of paired comparisons test and how the chord progression induces “P300” by EEG in physiological experiment. Psychological results suggest that subjects can distinguish the consecutive chord with one of the prohibitions. P300 was elicited by the prohibition in the physiological experiment. These results suggest that there is a different response of listening to the consecutive chord with the prohibition.
Music preferences as signs of who we are - Personality and social factorsTekman, Hasan Gürkanhttps://jyx.jyu.fi/dspace/handle/123456789/209442015-09-02T09:39:23Z2009-08-03T06:45:29Z2009
Music preferences as signs of who we are - Personality and social factors
Tekman, Hasan Gürkan
Recent research shows that music preferences can be summarized by four dimensions and these dimensions are associated with certain personality characteristics, analyzed according to the five factor theory of personality. However, when directly asked to describe listeners of different musical genres, respondents make limited reference to personality characteristics. When classification of musical genres familiar to university students in Turkey by factor analysis and by judgments of similarity are compared, five main groups emerge. One group, which may be similar to the “folk” dimension that emerged in some studies with west European samples although it was missing in the North American data, subsumes styles indigenous to Turkey. Some styles such as techno, underground, blues, Turkish art music and another Turkish genre called Arabesk are classified differently depending on the method used. The comparison of personality profiles with perceived qualities of genres and their listeners do show some consistencies but some styles that appear similar may appeal to very different kinds of persons. Studying the relationship between music preferences and person variables would benefit from including a variety of measures, different cultures, and both target person and perceiver perspectives.
Analysis of corporal gestures in dance students’ improvisations as a response to controlled musical parametersValiente-Ochoa, DanielPayri, Blashttps://jyx.jyu.fi/dspace/handle/123456789/209432015-09-02T09:39:23Z2009-08-03T06:45:25Z2009
Analysis of corporal gestures in dance students’ improvisations as a response to controlled musical parameters
Valiente-Ochoa, Daniel; Payri, Blas
This study addresses the lack of a theoretical basis in dance piano accompaniment music geared towards dance. We study which musical features are perceptually most relevant and prompt specific dance movements and gestures, particularly in academic dance.11 musical pieces using an academic style (duration approximately 30s) were composed for the experiment and recorded on a piano. The pieces varied along 6 musical features: mode, tempo, time signature, intensity, anacrusis and syncopation. For each video-recorded improvisation, we analyzed the performance of movement and gesture types. One-way ANOVAs were performed taking each musical feature as a factor and each movement as a dependent variable. Tempo and mode have the largest general influence on movement. Mode influences displacement amplitude and gesture assertiveness. Tempo influences the use of the floor and displacement amplitude. Time signature influences structure and displacement related movements and equilibrium. The results are significant for dance students with no musical training and no explicit knowledge of the musical features under study.